Yes, everyone can sing!

Posted on July 17, 2012 by Susan McAllister-Bee

I have a wonderful motivating story for you!

Mister W. has been seeing me for singing lessons for about 3 months. He is 33 years old and his favourite band is Stone Sour ……… He has never sang in school or a choir, or in front of anyone for that matter. He was what you would call a “closet-singer”. He only made sounds when he knew no one was listening.

Mr. W. had a lot of trouble matching pitch during first few lessons. For one thing, he was nervous, which is totally normal when you first meet someone and you have to try and sing in front of them. But, he was determined. He had always wanted to be able to sing and I told him it was definitely possible if he is willing to do the work.

Three months later, he is proving to himself, that indeed, he can sing. He has been doing his exercises regularly, and he is now vocalizing at the level of what I call …. A Singer!! Yes, he is matching pitch ascending and descending through his 1st and 2nd passagio.

His family thinks this is incredible, however, the truth is …. he has worked hard and it is paying off. I paved the path and he has followed diligently. He did exactly what he was asked to do …. twice a day ….. everyday!

More on Belting

Posted on July 2, 2012 by Susan McAllister-Bee

So, I used my cricoid muscle extensively on Saturday night. Yes, I was more shoutier than usual. Since my workshop a couple of weeks ago, I have been revisiting some of my repertoire in a beltier way. This is similar to the way I sang about ten years ago, but also much different. Yes, this time was much different. It was interesting to see how the audience reacted. I had one gentleman come and ask me if I had ever sang opera. He said that my voice reminded him of many textures…many subtleties. The audience definitely seemed engaged in a different way…..or maybe it was just me….knowing that I was singing more on the edge….the edge of right and wrong….the edge of freedom.

What has changed? Quite a few things. Knowledge is power. For one thing I made sure the mic stand was a little higher, and the microphone was angled slightly downward so that I could tilt my head back for the belt. (I don’t hold the mic because I am playing keyboard). I would usually do this angle with my head anyway, but now I know why I’m doing it and why the placement of the microphone is so important. I notice that it indeed is necessary to free the voice from constriction. My soft palate was raised as high as it could go. My tongue was well placed and my mouth was big. My body was engaged like at no other time in the song…..yes, that feeling of certainty and strength is a familiar posture that keeps me aligned with the phrases and momentum of the music.

I experienced no hoarseness, no raspiness, no uncertainty. I experienced the maximum energy my body and voice had to give that evening. I experienced an audience who reciprocated with applause and awe. I experienced a sensation of total release and freedom. I experienced the ability to be able to do it again tomorrow.

Singers, you have a choice!

Posted on June 19, 2012 by Susan McAllister-Bee

Times have changed, and they are going to continue to change for singers. This is a great thing! Singers now have a choice!

Gone are the days when there was one, and only one, way to train the voice. There was traditional voice training, and there was traditional voice training! You could go to university and develop a beautifully resonant head voice that soared through arias. Or, you could go to a private teacher, who either learned the same way, or taught what worked for them.

Traditional voice training was developed for traditional European music (where a singer had to be heard at the back of the concert hall with no microphone), but this type of projection was not what rock’n rollers and contemporary singers needed to help them sing better. Most traditional voice teachers considered these modern types of singing (which was predominantly a thick fold/chest voice coordination) wrong and damaging to the voice.

We now know this isn’t the case. Certainly there are limits to what the voice can do (in any coordination), but making unique and different sounds other than traditional classical, choir-like sounds is not always damaging to the vocal cords.

Seth Riggs was a pioneer in developing a vocal technique that strengthened the bridges in the voice and encouraged transitioning through the registers. No more vocal breaks. Hallelujah! This technique balanced the singer’s voice so they could sing whatever genre of music they wished.

Some teachers are now helping singers who want to make even more extreme sounds. Resonance and bridging is fundamental in these music genres to ensure the singer maintains a healthy larynx.

Singers, what do you think? Have you found freedom and balance in your voice, while at the same time you’re able to make sounds you are happy with?

My Prediction

Posted on June 16, 2012 by Susan McAllister-Bee

I predict we will continue to be amazed! As young musical people listen to an array of unique and interesting singing voices on the internet, they learn that anything is possible. The human mind and body is so remarkable, and the internet can be a great teacher! Young singers who explore their voice and the sounds they can make from an early age are raising the bar for others.

True natural talent is the young singer who has figured out the freedom of their own voice at a young age, and sings with that freedom daily.

Young singers are no longer simply influenced by teachers at their local church or school, or singers they hear on TV or the radio. Now they are influenced by what other young singers are doing all over the world.

Young singers who find the freedom and release, that encompasses the art of performing with emotion and spirit, are popping up everywhere.

I am not saying that any young singer can learn to do this! Oh no, by far! It is a rare young person who will figure this out. I am simply stating that we will continually be amazed by young naturally talented singers who do!

OK, let’s cut to the chase

Posted on May 27, 2012 by Susan McAllister-Bee

Please remember, I’m here to help you….yes, help you so you don’t take years off your career, like I did, just to figure out what you want from your voice.

If you are not interested in singing classical music, then don’t go to a classical voice teacher!! Period. You have options! If you want to sing Broadway, be careful about what voice teacher you choose.

When I was pursuing my dreams as a singer, I didn’t see my options. I knew I was struggling with my voice on the weekend with my band. I was yelling. I was hoarse. And then, on Sunday mornings I would use “this other voice” to sing songs in church. It was bizarre. I knew my voice was “disjointed” ‘but I didn’t know why, and I couldn’t figure out how to fix it on my own.

After taking voice at university, I had gained superb breath control, but still hadn’t figured out the voice I wanted. I felt like Dr. Jekyll and Mr. Hyde. I was with Dr. Jekyll on Saturday nights, and Mr. Hyde on Sunday mornings. It was not a great feeling. I knew something was wrong.

Then I learned about the mixed voice! Yes, the middle voice! Ladies and gentlemen, this is the ticket! No more flipping; no more yelling, no more breathy high notes. Finally, the answer I was looking for. Thank you Seth Riggs!

This is the answer for you as well! Don’t waste time like I did. Cut straight to the chase. Figure out your middle voice and voila….you can sing anything you want to and be proud of it!

The “Mariah Carey” Voice

Posted on May 19, 2012 by Susan McAllister-Bee

Mariah is a fabulous singer! She can do acrobatics with her voice! She has managed to sing strong and consistently for over two decades while enduring the typical stressful life indicative of a top-selling recording artist in the 21st century.

Even a balanced voice like Mariah Carey’s can run the risk of vocal damage such as nodes and calluses when over-used. No “one” voice is perfect all the time, and no “one” singer will exhibit the same limitations of what can be done with their voice at any given time. Every instrument is unique and different, and will change daily with the conditions that are present at that time.

Does that mean a singer shouldn’t sing or talk when they are not at their absolute best? Well, yes, I suppose it does. But how is that possible? If singing is your living then you have a job to do. How can you possibly stop talking and singing when you feel the slightest problem arising in your voice? You must do your job and that means using your voice.

Bottom line is a singer needs to know their instrument, and how to keep it healthy and working when it needs to. Planning ahead and scheduling time off for recouperating is imperative in this music business. Keeping the body healthy and getting enough sleep is a must. Knowing how to vocalize daily is crucial. Singing is tough business.

That being said, we can’t expect famous singing voices to never show a sign of wear & tear.

And what about the fact that the music business actually puts voices that have a “wear & tear” sound on a pedestal! What is a singer to do?

Self-awareness is key. That is why I teach about the middle voice with special attention to bridging (mixing) at the first passagio. When singers learn how to control their breath, master their natural tone and resonance, and establish their baseline volume, they can avoid many problems that come with over-singing.

Ladies, I’ve been there!

Posted on May 9, 2012 by Susan McAllister-Bee

While growing up in my small town, I always sang in the church choir. And, there was the school choir as well. I was considered an alto because I couldn’t reach notes as high as some of the other girls.

When I was 12, I think, my favourite artist was Olivia Newton-John. If any of you remember her when she had hits on the radio in the 70’s then you can likely guess how old I am! Other favourites at the time were Helen Reddy and Anne Murray. I also loved The Captain and Tenille and Linda Ronstadt. Oh, and how can I forget The Carpenters! Oh yes, they were my absolute favourite!

So, during the day I was a choir singer and at night I was a pop singer! It didn’t take me long to start noticing that I was singing two different ways with two different voices! I went on doing this for years!

I joined a band when I was 16 and we toured around the towns in my local province. At times I would have trouble hitting the high notes the way I wanted to, and sometimes it would be so difficult that I would go hoarse, or actually lose my voice, by the end of the night.

This never happened when I was using my “other” voice. You know, the voice I saved for Sunday and the school choir.

In my 20’s and 30’s I took loads of singing lessons from a variety of teachers. I went on to achieve my Western Conservatory grades. You know, the songs where you sing in every language but your own. I was still rocking out on the weekends with my band. It was a bizzare thing to be singing with two different voices in the same day. I still hadn’t found my true voice.

It wasn’t until I was almost 40 when I ordered an online singing product written by Seth Riggs. OMG, is all I can say! I did these exercises every day and my voice blossomed. No longer did I have two voices but one voice that extended from the bottom of my range to the top of my range. And guess what? My bottom note extended down to E below middle C, and my top note extended to C above high C! I had never before even made a noise on these notes!

The rest is history. I have continued to study and train my voice, as well as helped 100’s of students here in my studio.

I’m in the process of putting singing exercises online at www.soundcloud.com. Keep an eye there for useful exercises that will help your voice gain strength, endurance and power. Please let me know if you have any questions! Susan

Rock Singer’s vocal lesson

Posted on April 14, 2012 by Susan McAllister-Bee

First, I want to thank Justin for letting me tape his recent singing lesson. It is not easy to “let go” in a singing lesson and allow your voice to make sounds and try things that are not always pleasing, nor do they always feel “normal”. That is the key to developing a better voice….finding out what’s holding you back from progressing, and then taking the necessary steps to improve your voice.

You can see the video by clicking the link below. But, first, a little background on Justin’s voice. He has been singing a long time, (lol, at least since the age 14 when his “adult” voice started to set in!) He is self taught….as most rock singers are. He noticed problems hitting high notes and vocal strain early on. Let’s just say it usually goes with the territory of “rock singing”.

Have a look at the videos (two parts) and let me know if you have any questions. These exercises are specifcally good for rock singers.

http://www.youtube.com/watch?v=jEDfi84TRKQ

Singer/songwriters and key choice

Posted on April 6, 2012 by Susan McAllister-Bee

This post is for singers who also write songs.

Do you know your voice well enough to write sounds around your best sounds? Your money notes are not necessarily going to be the same as other songwriters. I can’t stress enough how important the key choice for your song is.

I had a student this week who came in with an original song in the key of E. His biggest note in the chorus was E (above middle C) with a little slur up to G# and back down. He was singing with great passion, but the E note was tight. We transposed it down to D and he sounded so much better. The problem was the guitar licks didn’t work with the song transposed. He then had to decide whether to compromise the sound of his voice or change his guitar licks.

Knowing your range, and the quality of sound you can produce on the big notes is very important. For men these big notes can be anywhere from D to G (above middle C) depending on your range and quality of your voice. For women these notes can be anywhere from A to D (above middle C).

It’s particularly important that you learn to pick songs and write songs that work well for your voice type. It shouldn’t be your goal to sing like someone else. It should be your goal to know your voice, and what it can do well. Then transpose your favourite songs into the range that best suits your voice.

What do you think? Do you sing songs in keys other than the original?

How to Sing Better…

Posted on May 31, 2011 by Susan McAllister-Bee

If you have tried to learn how to sing better by reading information online, or by purchasing online products, then you have noticed that a lot of the information out there differs and it can be confusing. How is a singer suppose to know what is actually going to help them sing better? I have outlined some points below that may help.

Compare singing well to having a body that is in good shape. A good singer would be like a fit body. There are various shapes and sizes of fit bodies. Some are short, some are tall, some are muscular while others are not so. But, they are all “fit”.

Getting fit with singing means balancing your low voice, with your middle voice, with your high voice. In other words, a strong and consistent voice through your entire singing range….much like a fit body would have the correct balance of lean muscle versus fat content.

Where things get confusing is when we bring “style” into the concept of singing.

Consider this. Let’s say some fit people focus on their biceps, while other fit people focus on their chest. Then there are some fit people who work harder on their 6-pack, while others still work overtime on their back muscles. The one thing the all have in common is that they are first and foremost…fit. They look good everywhere, but some look extra muscular in a certain area.

If you use this analogy with singing, then you realize that every good singer must be fit first. Again, this means being able to ascend and descend through their entire singing range without strain or breaks. Once a singer is fit, then they can sing in any style they choose from classical to rock. This enables the singer to get “extra” fit in some areas.

Before you rock out, you need to know that you are singing well through your bridges, and then you learn to style in rock. Rock singing can be very damaging on the vocal cords, so being fit and staying fit is absolutely necessary. If you are a classically trained singer then you may be more fit in your upper register, but you may want to style in another genre of music. Blues, jazz and pop singers all have a stronger chest tone in their middle voice, while classical singers generally have more head tone in their middle voice. These differences are all about style.